Designing in a group:how does knowing each other influence design projects

This paper presents a study of engineering design groups that seeks to explain how knowing other participants can influence processes and outcomes in design projects. Research in this paper contributes a framework to approach understanding how interpersonal relationships influence group processes and outcomes. This acknowledges that engineering design is achieved through individuals working in groups. First a temporal perspective is introduced to understand how individuals (through interpersonal relationships), group processes and outcomes influence each other; secondly identity is presented as a theme to focus on how knowing other participants identity influences group processes and outcomes. Within this framework it is recognised that engineering design has different levels of complexity of which two aspects are considered: design type and design setting. These aspects place different demands on a project group and its members and this structure provides an opportunity for cross case analysis to generalise findings.

Action research at the Sea Fish Industry Authority:improving the quality of our knowing- how do practices achieve organisational learning and renewal and how does this change overtime?

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From art for arts sake to art as means of knowing:a rationale for advancing arts-based methods in research, practice and pedagogy

This paper advances a philosophically informed rationale for the broader, reflexive and practical application of arts-based methods to benefit research, practice and pedagogy. It addresses the complexity and diversity of learning and knowing, foregrounding a cohabitative position and recognition of a plurality of research approaches, tailored and responsive to context. Appreciation of art and aesthetic experience is situated in the everyday, underpinned by multi-layered exemplars of pragmatic visual-arts narrative inquiry undertaken in the third, creative and communications sectors. Discussion considers semi-guided use of arts-based methods as a conduit for topic engagement, reflection and intersubjective agreement; alongside observation and interpretation of organically employed approaches used by participants within daily norms. Techniques span handcrafted (drawing), digital (photography), hybrid (cartooning), performance dimensions (improvised installations) and music (metaphor and structure). The process of creation, the artefact/outcome produced and experiences of consummation are all significant, with specific reflexivity impacts. Exploring methodology and epistemology, both the "doing" and its interpretation are explicated to inform method selection, replication, utility, evaluation and development of cross-media skills literacy. Approaches are found engaging, accessible and empowering, with nuanced capabilities to alter relationships with phenomena, experiences and people. By building a discursive space that reduces barriers; emancipation, interaction, polyphony, letting-go and the progressive unfolding of thoughts are supported, benefiting ways of knowing, narrative (re)construction, sensory perception and capacities to act. This can also present underexplored researcher risks in respect to emotion work, self-disclosure, identity and agenda. The paper therefore elucidates complex, intricate relationships between form and content, the represented and the representation or performance, researcher and participant, and the self and other. This benefits understanding of phenomena including personal experience, sensitive issues, empowerment, identity, transition and liminality. Observations are relevant to qualitative and mixed methods researchers and a multidisciplinary audience, with explicit identification of challenges, opportunities and implications.